A Generative Theory of Tonal Music by Fred Lerdahl

By Fred Lerdahl

This paintings, which has develop into a vintage in tune concept given that its ebook in 1983, versions tune knowing from the viewpoint of cognitive technological know-how. the purpose of departure is a look for a grammar of tune due to generative linguistics. the idea, that's illustrated with a variety of examples from Western classical tune, relates the aural floor of a bit to the musical constitution unconsciously inferred via the skilled listener. From the point of view of conventional track concept, it bargains many inventions in notation in addition to within the substance of rhythmic and reductional conception.

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But it seems implausible to give such a metrical accent to the downbeat of measure 11; and two bars are unhappily left over between measure 20 and measure 22. If, on the other hand, the downbeats of measures 5 and 9 are beats at this level, then the downbeats of measures 14, 18, and 22 apparently follow. But it stretches matters to hear a metrical accent at the downbeat of measure 18, placed as it is in the middle of the dominant pedal in measures 16 20. Neither alternative is satisfactory. 7 But it is extremely difficult to know which model to construct, other than somehow to make the downbeats of measures 16 and 22the major points of harmonic arrivalstrong beats at this level.

1. 4 These five well-formedness rules define a class of grouping structures that can be associated with a sequence of pitch-events, but which are not specified in any direct way by the physical signal (as pitches and durations are). Thus, to the extent that grouping structures truly correspond to a listener's intuitions, they represent part of what the listener brings to the perception of music. This will become clearer as we discuss the preference rules in the next two sections. 5 to the opening of the Mozart G Minor Symphony.

Thus either the downbeats of measures 1 and 3 or the downbeats of measures 2 and 4 are relatively strong. But since the structural accents occur on the downbeats of measures 1 and 4, there is a conflict: either the c occurs at a relatively weak metrical point, as in hypothesis A, or the b occurs at a relatively weak metrical point, as in hypothesis B. The only way out of this apparent conundrum is to place strong beats both on bs < previous page page_31 next page > < previous page page_32 next page > Page 32 and on cs, as in hypothesis C.

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